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Thief II Gold - Cancelled after Looking Glass Studios went under. Would have been in the same vein as TG. Some fans of the series have been making plans to do a Fan Remake based on existing documentation.
Thief: Deadly Shadows (2004) - Developed in Ion Storm Austin mostly by the same team who worked on the first two games. Published by Eidos Interactive.
Thief: Deadly Shadows Mobile (2004) - A mobile game tie-in to the above.
Aerith and Bob: The character names (and surnames) in the series' universe run the whole gamut. From common-sounding names of European or Asian origin and more rare Real Life historical names to more fantasyish My Nayme Is variations or outright abstract, figurative or descriptive names.
All Webbed Up: One type of the big arachnid enemies in the first game has this as his special power. It's better not to even get too close into his firing range and snipe him with the bow from a safe distance.
Always Night: Given the tone and atmosphere of the series and your character being a shadow-utilizing thief, this is justified. Only two missions in The Dark Project are set during daytime, and even in those, you spend most of your time indoors or in an abandoned old mine. The later games mostly offer glimpses of dusk at best, and usually only during cutscenes.
Ancient Tomb: The missions "Down in the Bonehoard" and "The Lost City".
Anti-Hero: Garrett claims to be simply looking out for himself, but it is always up to him to save the day. Granted, revenge also has something to do with it.
Archer Archetype: The bow is one of the most useful and important pieces of equipment in the game. It's often more of a tool than a weapon, especially while using the more special, stealth-related trick arrows. If a player's good at estimating distance and arrow arcs, he can even achieve a clean One-Hit Kill by shooting guards in the head or upper part of their body.
Ascended Fanboy: By the times of Deadly Shadows, Garrett seems to have a lot of admirers among co-workers as well as foes. One petty crook tries to pass himself off as Garrett to a possible customer (and fails). A female example that occurs is Marla Madison, a young fence that is basically Garrett's "greatest fangirl". Predictably, Garrett has a good laugh at the impostor's expence and is fairly annoyed by Marla's ditzy advances.
Atlantis: Two visits to a long-lost underground city that used to be inhabited by The Precursors. And in Deadly Shadows, the sunken city of the Kurshok.
Back Stab: Mooks tend to react negatively to corpses they find, though. It should be pointed out that this game series does not encourage backstabbing, sometimes to the point of initiating a Non-Standard Game Over for killing of any kind, unlike pretty much any other Stealth-Based Game. Usually that's only if you're playing on the highest difficulty setting — although there are some levels where you auto-fail the mission if you're detected even once, or leave behind any trace of your having been there. Dead bodies count as traces.
Badass Normal: Garrett. Gods, monsters, and many far more heavily-armed and better trained soldiers fall prey to his razor-sharp cunning.
Bad Moon Rising: The second-to-last mission in The Metal Age has a red full moon in the night sky.
Bag of Spilling: In the first two games, Garrett loses whatever consumable resources he has when finishing a level, and any gold he fails to spend when starting one.
This was a deliberate decision made by the designers in order to encourage players to buy lots of equipment and then go ahead and use it during missions instead of hoarding it for later, or alternatively having such a large stockpile that they never need to fear running out. No justification given, just an attempt to invoke Rule of Fun.
Garrett loses Constantine's Sword between the first and second games, but this doesn't seem to be an issue since all it did was let you kill undead and his regular sword does that just fine in The Metal Age. Alternately, it is the same sword, Garrett just stopped calling it by its full name since it belonged to the guy who ripped his eye out and tried to kill him.
Bank Robbery: The sixth mission of the second game is one of these. Oddly enough, the main target is not money, but an incriminating recording. Still, there's plenty of cash to be picked up.
Beastly Bloodsports: You can eavesdrop on a conversation between two guards discussing bear fighting; one will lament that he remembers fighting bears being more savage when he was younger, and the pit owners didn't need to give the bears paw hooks or razor collars to keep the fights interesting.
Beast Man: Quite literally - the animal-descended fantasy humanoids in the game's universe are referred to as "beastmen". Most of them are in allegiance with the Pagans and often even live amongst them and serve in the Trickster's army.
Bedlam House/Abandoned Hospital: The Shalebridge Cradle in Deadly Shadows was this before it became an abandoned wellspring of evil, but after it was an orphanage. Notes left around the place tell how bad it was. Word of God (Jordan Thomas, overall director and designer of the level) was that its creators honestly meant well and were quite forward-thinking, but tremendous costs, the class divide, primitive techniques and a series of disasters turned the place into a nightmarish cage. For example, a clockmaker checked himself in after a nervous episode, was treated, and pronounced fit to leave. Due to a mix-up, he was then accidentally given extremely painful electroshock therapy, turning him into a massive headcase who had to be locked up with the most dangerous patients.
Bilingual Bonus: The name of the mechanist Precursor City excavation project's head honcho, Cavador, means "digger" in Spanish.
Bizarrchitecture. Constantine's mansion in the first game (the level is called "The Sword). The first floor and forward area of the mansion appears normal but the further you go, the more weird it gets. Some examples:
In the Gold version, the Brobdignag section. (There is a Lilliputian section as well.)
Large sections of the upper floors are rotated so that, e.g. the ceiling looks like a floor and vice versa, including having upside-down or sideways furniture.
In the greenhouses, search the ceilings until you find the section that is actually water. You can climb up through it into a tub of water in the room above.
In the deepest part of the mansion, weird twisting tile hallways and perspective-warped corridors are interwoven with mossy green tunnels going straight through the structure. At this point, the thought may strike that the architect is just screwing with you. And he is - it's all a test.
When you visit the mansion, it's possible to encounter a doorway opening on what appears to be outer space, with distant and apparently unreachable fragments of mansion hovering in the starry void.
The Blank: The Shalebridge Cradle in Deadly Shadows has the staff of the orphanage-turned-asylum, shadowy silhouettes created from the memory of the Cradle, representing the faceless authority of the adults keeping order between the children and patients.
Blinded by the Light: Flashbombs and flashmines available to thieves, though we only see Garrett using them. They're useful for temporarily incapacitating civilians, guards or even certain kinds of monsters/creatures, allowing Garrett enough time to flee and avoid getting caught. However, if you throw them clumsily, you can blind yourself as well, though only very briefly.
Blood Oath: When Viktoria and Garrett forge a truce in Thief II, they seal it with this. It's more of a "Sap Oath" in Viktoria's case, since she's a dryad and bleeds sticky green fluid.
Blow Gun: A certain type of (relatively harmless) enemy uses them in The Metal Age.
Well, there are the zombies, in all three games. But particularly the first.
The Mechanist Servants in the second game. Being made into one of these is so horrific, some will thank you for killing them.
The Necrotic Mutox. You never actually see it used on a person, but you hear it. The person it is being demonstrated for reacts with both horror and fascination.
Pretty much anything to do with The Hag in Deadly Shadows. She does much worse than eat children alive. In fact, eating a child alive would be kind compared to what she does to at least one. Then there's her body, which is a vaguely humanoid mass of flesh studded with eyes and mouths, most of which do not appear to be under her control.
Book Ends: The beginning of The Dark Project and the end of Deadly Shadows.
Bookcase Passage: Lots of these, both literal and more figurative examples. Some of them are opened by hidden buttons and levers, but some can be opened as easily by slashing them several times with the sword.
Bop On The Bonce: With a blackjack. Hitting an unaware target with the blackjack will knock him/her out quickly and quietly. (If they're aware, they cannot be knocked unconscious but can take damage, although the attack is less effective than if they were unaware.) Though even if you use the blackjack(at least in the first game) when a guard finds an "unconscious" person they'll loudly announce that someone's been murdered. The intention might be to render them unconscious but for all you know you are delivering a lethal blow more often than not.
Canis Latinicus: The Hammers have their "ye olde" style of speech, the Pagans talk in a childish pidgin and the Keepers (during the events of the third game) revel in some sort of faux-Latin while reading the ancient scrolls and textbooks from their library.
The Caper: Some levels (or groups of levels) are definitely full-fledged capers. Others are simple "pick the lock and loot what you find inside" missions.
Carry a Big Stick: This is probably one of the few game series where the protagonist's most iconic weapon is a blackjack - i.e. a simple wooden cudgel for knocking out people - rather than his sword or dagger.
Central Theme: Several, but the main overarching theme of all three installments so far was the "fall from grace" motif of the three major factions of the setting. Each installment explores what happens when one particular faction gains too much power or becomes too corrupt or too decadent for their own good and the good of the rest of the world. In each installment, Garrett needs to help defeat the extremist part of a faction or stop the spread of corruption within a faction. This goes hand-in-hand with the gradually built-up theme of Garrett as a relatively True Neutral hero in a world full of opposites and divided loyalties.
Cherry Tapping: On the score screen of each mission in the first two games, you receive separate bonus points for blackjacking peoplewhile in mid air. It's actually easier to achieve than it sounds. Just prepare your blackjack for a swing and leap towards your unsuspecting victim from behind.
The Chosen One: A large number of Keeper prophecies revolve around Garrett, and at the end of Deadly Shadows, we discover why. Note that this doesn't mean he had or has supernatural powers. Garrett only acts, in the end, as the ultimate balancing agent. Whenever any one faction gains too much power, he topples it. Garrett may be The Chosen One according to others, but he certainly acts and thinks of himselfas the opposite. Until the end of Deadly Shadows, when he accepts his fate - though not without much grousing and grumbling and sarcasm.
City of Adventure/Absurdly Cool City: Hoo boy. Lots of interesting and varied areas to visit, including the region surrounding the city. The third game even had a sandbox game feel to it - you could walk around a few select streets in the core quarters of the City, loot various establishments and bypassers, or sell your loot and purchase new equipment in hidden thievery shops.
Convection Schmonvection: Garrett has no trouble delving in caves half-filled with lava as long as he remains on solid ground. But should even his little toe actually touch lava, he drops dead instantly.
Conveniently an Orphan: Garrett. We know nothing of his earliest past or who his parents were. Nor does he. When we first see him, he's already a ten or twelve year old street urchin, and there is no hint whatsoever who he may have been before that.
I was a kid. No parents, no home. Running messages and picking pockets to keep my ribs from meeting my spine.
Cool, but Inefficient: The grenade-launching robots seen in the second game can be tricked into destroying themselves by firing their grenades into the wall they are pressed against. Also, they can be disabled by water arrows in the open boiler on their back.
This weakness is mentioned within the game; apparently the smith just never got around to fixing it.
What's more strange is that those big ugly death machines can be broken easily by Stuff Blowing Up (if you have enough), but the annoying "steel cherubs" cannot.
Cool Sword: Subverted with Garrett's standard sword (or, in the third game, his dagger). It's a completely average, not very flashy weapon, though a useful and competent one for certain situations. Played straight a bit more by Constantine's Sword, which Garrett acquires (for a time) during the events of the first game. It deals more damage and while it has more dim colours, this is actually an advantage - unlike Garrett's classic sword, it doesn't shine when exposed to light sources. This makes it stealthier when unsheathed, even while hiding in shadows.
Conspicuously Selective Perception: The entire game mechanic is built around NPCs failing to notice the player character if he is in shadow, while being extraordinarily sensitive to noises he makes himself and oblivious to noises made by machines set in motion by the protagonist. The Keepers, and Garrett, as an ex-Keeper, have quasi-mystical ninja powers, and the loss of all Glyph magic later implies that the stealth powers are non-magical, as well as the fact that young Garrett (and later, the young girl) can see Keepers. Not to mention the fact that Garrett continues to possess his stealth capabilities even while hiding in the Cradle's Memory (the past) while carrying a Toy.
The Keepers ability to hide buildings is magical. The Keeper Tower was invisible to the city until it lost its glyph protection.
Corridor Cubbyhole Run: When faced with corridors in indoor environments, Garrett has to hide from patrolling guards/monsters/zombies/etc. by dodging in and out of rooms, into alcoves, and so on.
Continuity Nod: Lots within the entire series, often with a Mythology Gag or two. They're a common part of the series - so much, that the fans were actually pretty annoyed when the third installment didn't reference some major aspects of the second one (i.e. the Mechanists) as much as they were expecting.
There are two main nods to Thief II in Deadly Shadows. First, the viktrolas in the Wieldstrom Museum the play recordings of Karras' voice which contain screaming and Karras repeatedly saying "repent." The other is a readable in the Hammer cathedral that, to the annoyance of the player, says that the Master Builder was responsible for taking down Karras in the last game.
Crapsack World: "NoirFantasy" describes it well. Everyone has an agenda, they conflict constantly, and even just living day-to-day is perilous. The nobles play games and see the poor as little more than animals, it's hard to distinguish between the keepers of the law and the actual criminals, and things live in the shadows and beyond the City's borders that you're better off not meeting...unless they decide to come to you. Then there's no 'better off' at all.
Crazy-Prepared: The Keepers in the first two games. The third... not so much. Kind of justified by the fact that it was their turn to undergo a major crisis, just like the Pagans in the first game and the Hammerites in the second. Though, technically, the Final Glyph is itself an example of Crazy Prepared: if someone like Gamall does what she did, wipe out all Glyphs to prevent them from being used for evil. The Keepers in the third game had problems merely because Gamall herself was crazy prepared and erased all information as to the reason for the Final Glyph.
Creepy Child/Emotionless Girl: Gamall, the Keeper Translator, a 10-year-old girl, from the second and third game. She gets a pretty shocking Reveal during the course of the third game.
Stone Guardian:A noise... and find and crush and KILL AND CRUSH AND KILL!
Crystal Dragon Jesus: The Hammerites are essentially your typical medieval Christian church Expys, but with a few twists on their mythology: The belief that the Builder (the one god) led humanity out of savagery by the gift of fire and more advanced tools like the first hammer, slightly mirrors the ancient Greek myth of Prometheus. It's also the reason why Hammerite rituals and worship are centered around human work, handicrafts and industry... And a possible explanation for the whole steampunk feel of the world.
Cult: The Pagan faction, which shuns advanced technology and the society of the City. They worship nature and its incarnate deity - the legendary and powerful, but chaotic Trickster, who despises industry and the working of steel. Needless to say, Pagans don't get along very well with Hammerites and the feeling is mutual (despite some rare instances of Worthy Opponent between the two factions).
Cute Ghost Girl: Lauryl from the infamously haunted Shalebridge Cradle isn't all that scary once you get to know her in Thief: Deadly Shadows. She's a subversion of sorts, since she appears as a ghostly blob of light with the shadow of a small girl. She's helpful and kindly, showing Garrett various clues about the Cradle's dark past and guiding him out. After both of them leave the Cradle and enter the alleys of Old Quarter, the guards start fleeing in terror at the sight of Lauryl's ghostly appearance. For once, Garrett can take it easy with stealth in the City's streets. Funny stuff.
In a more literal sense, most games condition players to be nervous around very dark rooms and more comfortable in well-lit areas. In this game, it's the opposite: darkness is very good, and light is to avoided whenever possible.
Devil but No God: The Trickster is very much real and plays an active part in the goings on of the physical world (although he may possibly be just an exceptionally powerful nature spirit), while there is never any indication that the Builder is anything more than a religious construct.
If you never sell the Kurshok Crown in Deadly Shadows, you won't have to steal it in the final level. But they don't make it easy for you: if you didn't sell the Crown, but head for the fence who buys stolen jewelry after exiting the Museum with all the other loot, you can accidentally sell the Kurshok Crown and break the ending because you cannot buy back the Crown. So the seemingly hard way is actually the easier way: If you do sell the Crown, and have to steal it from the Museum, the Crown becomes a protected item and you will be unable to accidentally sell it, a handy feature in the chaos and confusion at the end of the game.
In some levels, you can steal every key from a guard, have them chase you into a locked room, then quickly leave and close the door. Doing so will lock the guards into the room so they can't leave, giving you free reign over the house. In fact, this is the best way to deal with the golden baby in Thief II.
If you were forced to kill someone and had already hid his body, but the blood stain is still in sight and could give you away, you can shoot water arrows into it to wash it away. And, in the third game only, shooting moss arrows at pursuing human enemies will cause them to leave you be, because they start choking on the magically expanding moss.
In level 5 of Thief 2, the intended method of beating the level is to listen in on Karras's conversation and learn where the safety deposit key is located. If you happen to find the key and make the wax mold first and then listen on the conversation, Garrett will say this:
Garrett: I wonder how I knew I was going to need this wax key press?
Difficulty Levels: Higher difficulty levels not only increase the amount of loot that must the gained but also restrict the use of deadly force. In Deadly Shadows, it also affects how much hostile guards react to noises (which was used to discover that difficulty levels get reset when saving and reloading.)
Disposable Sex Worker and Disposable Vagrant: In the second and third games; the nobility conform to the old standard of seeing those below their social class as servants or playthings, not people. Sheriff Truart specifically mentions prostitutes as the kind of people he can bring to Karras who "will not be missed by anyone of consequence". And the Hag sees those who fall to her as resources to extend her life and skins to use as disguises.
Drone of Dread: Used commonly throughout all three installments, in certain segments of the ambient/atmospheric music. Particularly in scary missions. Though it is also common in some bits of non-supernatural missions, in order to build tension.
Dungeon Crawling: The subterranean and outside-the-City missions in general. Sometimes in actual catacombs and tombs, sometimes in various caves and caverns. In a subversion, only some of them are actually haunted. This trope also applies literally, since this is a stealth game where you'll mostly be crawling around and/or skulking in the shadows.
In the first game, besides the Old Quarter and the Lost City, Constantine's mansion qualifies. The first few halls are quite conventional, but once you infiltrate it deeper, the weirdness starts, and it's quite unsettling.
In the third game, the Shalebridge Cradle is this trope personified. It's implied that the building itself has its own malevolent consciousness.
Elemental Powers: One of the unusual natural occurences in the world of the series is the spontaneous formation of crystals that represent the four elements, depending on location (e.g. water crystals form in ponds and rivers, fire crystals in lava or fires, etc.). These are then commonly utilized by various thief guilds or independent thieves, including Garrett : They serve as the arrowheads for the various Trick Arrows used in heists. For instance, water arrows can put out torches, gas arrows knock out adversaries, moss arrows create moss carpets that deaden footsteps on louder surfaces. Funnily enough, the fire arrows in the game are not just simple arrows set alight, but fire crystal arrows that explode when hitting something, making them the most powerful offensive arrows. Then there's the Hand Brotherhood, a group of oriental-esque mages that specialize in magic based on the four elements. You get to visit their elaborate compound in the mission "The Mage Towers" from Thief Gold. And, appropriately enough, your elemental Trick Arrows do come in handy in that mission as well.
Enemy Chatter: Particularly memorable: the bear pits conversation in "Lord Bafford's Manor"; and a Genre Savvy guard asking a Mechanist how the cameras know to sound the alarm when they see a thief, but not when they see a guard. (His response? The Mechanists' version of the MST3K Mantra, of course.)
Enemy Mine: Garrett teams up briefly with the Hammerites and Pagans in the first and second game respectively (and has the option to team up with both of them, simultaneously, in the third game). He does it more out of necessity than sympathy.
Subverted in the case of Gamall. She just wants to live forever. The fact that the Keepers all got an eyeful of her true from, and thus need to be eliminated is ancillary.
Everything's Worse With Zombies: One of the few bigger criticisms of the first game was the fact that it had too many levels populated by various undead creatures and monsters. Zombies were chiefly removed from The Metal Age along with burricks and most other monsters because players preferred to concentrate on, you know, pure thievery. The third game generally took the middle route, with mostly realistic missions interspersed by more supernatural and undead/monster-heavy ones.
Exact Words: Sometimes the mission briefings will give details about the mission away. In Hard Mode, the game normally says "Don't kill anyone", but two missions have different goals which tease towards their content: "Trace the Courier", which says "Don't kill any humans", has you entering the Maw and running into some of the Chaos Beasts, while "Precious Cargo" says "Don't kill any Mechanists" because you have to Mercy Kill one of Viktoria's agents in order to progress.
Exploding Barrels: They're red and marked with a flame logo. Averted in the third game: barrels marked like the first two games marked exploding barrels, don't explode.
Every Device Is A Swiss Army Knife: Garrett's bow comes across as this, since the wide array of Trick Arrows that it can fire makes it a very versatile weapon. Oddly enough, given the nature of the gameplay and the types of arrows you'll usually be using the most, the bow is more often than not a tool, rather than an offensive weapon. The bow itself also has some funky accessories, particularly an attachment with a simple targeting reticle made from iron. The arrows themselves and the blackjack and sword/dagger also have a great degree of multifunctionality.
Eye Scream: Garrett gets his eye plucked out by one of the bad guys during the first game. We later see a brief, detailed close-up of the shrivelled, bloody gap in his face.
The third game reintroduces Garrett to his missing eye, which talks to him and suggests that one day it may remove the other eye.
Faking the Dead: Garrett does this in the third game in order to escape Shalebridge Cradle.
Fan Nickname: When discussing the installments of the series, they are usualy referred to by acronyms of their secondary titles - i.e. "TDP", "TMA", "TDS".
Fantasy Gun Control: The world of Thief has scientific advances such as electricity, steam engines, clockwork robots, surveillance devices and even stun grenades (flashbombs and gas grenades), but there are no gunpowder firearms to be seen (which amusingly contrasts the otherwise accurate Late Medieval-like setting). Even the City Watch and Mechanists are armed with swords, maces, bows, and crossbows at best.
The cannons require gunpowder, and they can be seen on ships and, of course, the Children of Karras. The cannonballs also have fuses that are lit. And they act more like cluster grenades after landing on the ground and lying still for about a second or two.
Famed in Story/Shrouded in Myth: By the third game, Garrett's name is pretty famous in the city as the pre-eminent thief, "rarely seen and never caught" — you can listen in on snippets of gossip (both accurate and exaggerated) about his exploits, and other lower-caliber criminals bragging about being as good as him or out-and-out claiming to be him to bolster their own reputations.
In the third game, there are even lesser thieves who pretend to be Garrett to get business. Garrett himself finds this amusing.
Fate Worse Than Death: The Masked Servants. It's unknown precisely what Karras does to make them compliant to orders, but the fact that they plead for death as an idle dialogue and thank you if you kill them will send shivers up your spine.
In one spot you can overhear two normal servants talking about one, and one of them mentions it "crying like a lost soul".
In one mission, you can eavesdrop on a "conversation" between a Mechanist and servant. The servant repeatedly asks to be killed, but the Mechanist continues on as if he doesn't hear it.
Fertile Blood: The intro for the first mission dealing with Pagans in Deadly Shadows shows a Pagan cutting his palm in order to "water" a plant, which then grows exponentially faster than normal.
First-Person Smartass: It's a first person game and Garrett is a smartass. His opening narration for each mission especially falls into this a lot.
Fish People: The Kurshok from the third game. Surprisingly, they're not in allegiance with the Pagans like most of the other non-human races - it's subtly hinted that the Trickster cast them below the earth.
Five-Finger Discount: As a child, Garrett came to the attention of the Keepers when he tried to pickpocket one on the street, because "it's not an easy thing to see a Keeper, especially one who does not wish to be seen." In the game, there are frequent opportunities to filch bags of gold, keys, potions, and arrows from the unsuspecting, with a "pockets picked" counter on the score page after the mission.
Foreshadowing: The intro cutscene of each game drops hints about the main plot and Garrett's enemies. The third one's is more ambiguous than those of the first two games, but it features a major Continuity Nod towards them (with two brief rapid montages referencing their events).
Friendly Enemy: Garrett and Viktoria in The Metal Age. They plot devious things together. It's simultaneously both disturbing and a little cute.
Giant Spider: These appear occasionally in the first game and more rarely and with less variety in the second one. Even the "small" yellowy spider is as big as your foot. They usually attack by jumping and biting. Sometimes they spit.
Good Is Not Nice: Garrett usually acts ignorant or dismissive of the evils threatening his world, but his Jerkass Façade hides a character with strict personal standards, who dislikes seeing pain inflicted upon those who were already given a bad hand by life.
Grappling-Hook Pistol: The (slightly magical) rope arrows in the first and second game are essentially a medieval version of this. They can stick into any wooden or earthy materials and provide new routes to otherwise inaccessible areas. The vine arrows from the second game are a full-blown magic version of the ordinary ones and can also stick into surfaces with metal grating. Garrett obtains them after teaming up with the Pagans.
Gray EyesandGreen Eyes: Garrett for both tropes. His eyes are naturally gray (befitting a snarky, noir-esque loner) and his mechanical eye is bright green, which also matches right up with his sneaky, untrustworthy nature, what with him being a professional criminal and all.
Heroes Prefer Swords: Played straight in the first two games. Averted in Deadly Shadows, however, as there Garrett trades his longsword for a more concealable dagger.
The Dark Engine (used in TDP and TMA) was first developed for an Arthurian-themed game which never saw the light of day because the swordplay was far too complex, so they gave the complex swordplay to a character who wasn't meant to be good at sword fighting. They made Thief and the rest is history. Thief: Deadly Shadows used the Unreal Engine, so they finally replaced the sword.
Heroic Sacrifice: Viktoria explodes herself into a torrent of trees and plant matter to set up Soul Forge for Garrett to wipe it out with the rust gas.
I Have Many Names: The Trickster. Just a few are "The Woodsie Lord", "The Jacksberry", "The Harvester", "The Gillsweet", and of course, Constantine.
Implausible Fencing Powers: Massively averted all the way by all normal sword-wielders. The Hammer Haunts and other monsters don't count. Particularly important in Garrett's case, since his creators made him a deliberately average/weak swordsman to prove a point - he's a thief, not a warrior. The sword (and later dagger) is for self-defence only and always a last resort (if you want to undergo the tiring process of fighting off a guard or creature instead of just reloading your save and not alerting them the second time you sneak across that location).
Industrial Ghetto: Glimpses of this are caught throughout several of the city districts, particularly in The Metal Age. Fan missions tend to portray this aspect of The City frequently.
Insecurity Camera: The Mechanist surveillance cameras from The Metal Age can be shut down easily by finding their fuse boxes and pulling a lever or two. However, if there's one central generator room for all of them, then it's usually well guarded or pretty hard to sneak into. An alternative, much noisier way of disabling the cameras, is to simply blow the cameras up with your fire arrows or by placing an explosive mine under them and triggering it with your broadhead arrows.
The Wieldstrom Museum's security systems from Deadly Shadows can also be disabled this way, though only for a minute or two. Furthermore, the Tesla-coil-like electrical fence protecting the two most valuable exhibits can be disabled by shooting a water arrow into one of the coils, shutting it down for about 5-7 seconds - enough time to grab the loot and run back for cover to the nearest dark corner.
Instant Sedation: Played straight by the gas arrows and gas bombs, but subverted by the gas mines, which need to be deployed first in one set spot and then triggered (whether by an NPC or the player with the help of an arrow).
Interchangeable Antimatter Keys: Averted. While some keys do open multiple doors, they don't open every door, and often you'll have to go hunting to find the right key. They also stay with you, and you can even end up with multiple copies of the same key since several guards will have them in a single stage.
Ironic Echo: When Garrett tried to pickpocket Artemus in his youth, Artemus caught him and told him he had talent for being able to see a Keeper, especially when he doesn't want to be seen. At the end of the third game, when a little girl tries to pickpocket Garrett, he says the same thing and smiles at the memory.
Ironic Name: The Mechanists named their submarine Cetus Amicus, which is Latin for "friendly whale".
Irony: Constantine awards Garrett a magic sword for a successful mission - however, players who are experts at the game will never use it. Which is a shame, because it's excellent for clearing out most undead without wasting other resources, especially if you get the drop on them.
Kill It with Water: The proper way to deal with Fire Elementals, and the Mechanist robots in the second game (that is, other than heavy firepower).
Knight Templar: The Mechanists in the second game, and the Hammerites in the first to a degree.
Knockout Gas: Shooting a mook with a Gas Arrow will knock him out even if he's fully aware of your presence (and thus would only get annoyed by the Blackjack). Shooting the ground has an area effect, knocking out everyone within a meter or so. Gas bombs and gas mines have an area effect as well, though gas mines need to be triggered first to deploy gas.
Land of One City: You visit the outskirts, but that's as close as you get to seeing if that City has limits.
Limited Sound Effects: Averted big time. Nearly every type of surface imaginable has an expansive and context-sensitive set of sound effects. Listening to your surroundings is even part of the gameplay (you can guess the distance between you and any NPC and also the direction from which the sound is coming). Thief was probably the first game to use the concept of sound FX being more than just a background decoration to its full degree.
The Magic Goes Away: In the Deadly Shadows finale, Garrett activates the "Final Glyph", which causes all other glyphs to lose their power. This puts an end to Gamall's rampage, as well as exposing the Keepers to the world, and burning a non-magical "key" symbol into the back of Garrett's hand. Loss of the glyphs leaves the fate of the Keepers uncertain. Loss of the Glyphs also seems to indicate that the stealth powers of the Keepers are non-magical, as Garrett retains them and is surprised when a talented young girl is still able to see him, much as he did in the first game with Artemus.
Magitech: Some of the technology in the game's universe seems to be of this variety. Sometimes, it's clearly related to the Lost Technology trope.
The Masquerade: The Keepers. There is no mysterious, conspiratorial group with near-mystical stealth skills in hoods watching and nudging events from the shadows, and if you disagree, you might receive a visit from a mysterious assassin with near-mystical stealth skills in a hood to shut you up.
The climax of the third and final game, Thief: Deadly Shadows, is a massive melee throughout the city streets between the City Watch, Hammerites, Pagans, and the Big Bad's animated statues. The more factions that are friendly or at least neutral towards Garrett, the easier it is to make it through alive.
The first game has the potential for this in any level where multiple types of AIs are around, e.g. "The Haunted Cathedral", "The Lost City". Zombies will attack anything alive, for example, not just the player; fire elementals will attack at least some types of living AIs; and so on.
Missing Scene: For some reason, PC versions of Thief II circulated after its original release (for example, a budget-priced reissue several years later) omit all the cutscenes, specifically those in which Garrett is briefed about the next mission. As such, the player often starts a mission with only basic instructions to follow and no context.
Caused by the ancient version of Bink video bundled with the game being incompatible with modern versions of Windows. The original's a compatibility nightmare anyway, being targeted to one of the original iterations of Direct X; websites with patched versions of the rendering libraries will normally have links to updated video libraries, too.
The "necrotic mutox", a.k.a. "rust gas" - a Steam Punk biochemical weapon of mass destruction created by the Mechanists. It wipes out biological matter. Take three guesses on what they wanted to use it for.
Subverted with the Cetus Amicus, which means "Friendly Whale". Keep in mind, the thing is a deadly submarine.
No Arc in Archery: Mostly averted. Nearly all arrows arc. The broadhead, rope, water and moss arrows follow the laws of physics, while the elemental arrows of Air (sleeping gas) and Fire (rocket launcher stand-in) fly straight and fast. Since the elemental air present in the arrowheads could probably be considered to have its own personal updraft... and hot air rises.
In The Dark Project, Garrett has his gear taken away after the Big Bad plucks his eye out and leaves him for dead. Garrett starts the level with no gear at all, but if you have the presence of mind to search the room you start in you'll easily find his bow and some other useful items.
In Deadly Shadows, the trope can be played straight if the City Guards capture you while you're roaming the streets in plain sight. They will toss Garrett into one of the local prisons, where he later wakes up in a locked cell, weaponless. Then you have to figure out how to escape.
This trope is also popular in fan-made missions. The difficulty depends on whether you've been depending on your weapons to get by, or if you've properly honed your stealth skills.
No OSHA Compliance: According to the briefing before the "Stopping Time" mission, more people have been killed by the gears of the city clocktower than the blade of the City's guillotine.
Nothing Is Scarier/Hell Is That Noise: Many of the creepiest levels use this to great effect ,the first half of the Cradle mission being a textbook example. Granted, there may be some real threat lurking in the shadows or eerie spaces, too. Maybe.
The Obi-Wan/Cool Old Guy: Artemus, the Keeper Elder who brought Garrett into the order and served the role of his teacher and father-like figure. Apparently the only Keeper who can still top Garrett in stealth. Overlaps a little with Mr. Exposition in nearly every cutscene or location he appears in.
Oh, Crap: This isn't an expression we see Garrett use very often, but it snuck its way in, most memorably in a The Dark Project cutscene when Viktoria takes his eye and in Deadly Shadowswhen he spies Gamall animating statues in the Keeper compound. Just about every Keeper got this in Deadly Shadows during Gamall's advancement ceremony when she revealed herself as the Hag.
Optional Stealth: Theoretically, you can ditch stealth and kill everyone in sight, but it is a lot more dangerous and resource-consuming, even on lower difficulty levels. However, there are some missions where killing or even simply getting spotted results in a Game Over. The hardest difficulty settings pretty much force the player to play as stealthily as possible.
Order Versus Chaos: The struggle between the orderly Hammerites and chaotic Pagans is a major plot point in all three games. Notably, the third main faction - the Keepers - is meant to act as a balancing agent and watchdog of the duo of rival ideologies. Fittingly enough, the Keepers are not known to the general public and are extremely secretive about who they are and what they do (their glyph magic certainly helps with this).
Orphanage of Fear: Shalebridge Cradle used to be an insane asylum and an orphanage at the same time. The children and patients were supposed to be kept separate; it didn't always hold true.
Our Dragons Are Different: Burricks - wingless reptiles with the size of a pony and the outward appearance of a chubby theropod dinosaur - are apparently the closest thing to a dragon in the Thiefverse. Expectable in such a down-to-earth Low Fantasy setting. Burricks aren't actually ferocious (being herbivores), but they can still be dangerous. No, they don't breathe fire - instead, they burp cloud after cloud of some sort of highly concentrated fumes created in their digestive system. The fumes are corrosive and you'll suffocate in them almost immediately. It's implied they have slightly explosive properties - Garrett makes a snappy remark in the second game about how "infiltrating Shoalsgate is like looking down a burrick's throat with a lit match". Burricks appear up-close-and-personal in several levels of the first game and in the form of hunting trophies and occasional references in the second and third game.
Oxygen Meter: Appears in the lower right corner whenever you are swimming underwater in the first two games. Since the third game has no swimming mechanic, the meter doesn't make an appearance in that one.
Pardon My Klingon/Unusual Euphemism: Taffer, to taff, taffing taff... The most common and versatile curseword in the series' universe. The various guards are its most prominent users. "Taffin' cripes, I knew I smelt trouble! Where are you, you taffer? Aah, you're taffing me. Who's gonna clean up all this taff?" The word "taffer" seems to be a general term for a criminal, low-life or annoying person. And some other things. Other cursewords uttered by various characters are fairly standard or slightly archaic. A cut piece of dialogue in The Dark Project alludes to the notion that "taffer" is yet another named for The Trickster.
Perpetual Poverty: Uh, Garrett? Over the course of three games you've stolen thousands and thousands of gold. Why do you still have trouble paying the rent? Are you throwing it all away between each caper? Ale and whores? Seriously, hire an accountant or something, man.
His life as an independent thief also costs him, figuratively and literally. Ultimately he can only steal enough on a job to afford to set up the next job, especially since as an independent he gets awful rates from fences and merchants willing to deal with him. He's living heist to heist just like someone living paycheck to paycheck, spending a lot of money on just being able to continue working.
Phantom Thief/Impossible Thief: Garrett, of course. While he steals for a living, he also turned to it to get out from under the self-imposed (and self-righteous) restrictions of the nigh-invisible Keepers. Many of his capers are clearly done as ars gratia artis. In one first-game mission Garrett decides that the best revenge against a crimelord's assassination attempt is, instead of killing him, to sneak in and remove every valuable object from said crimelord's house. Granted, you also have the option of doing that and (depending on difficulty level) killing him.
Also subverted in that Garrett's single most frequent recurring complaint is 'I have to do this job because the rent is due'.
Garrett has robbed from castles, mansions, patrician houses, taverns, shops, museums, city guard stations, abandoned haunted parts of the city, ancient ruins, places defying the very laws of physicsand the office of his landlord. Hell, he's even managed to snatch a few trinkets from the heart of the well-guarded and nearly impenetrable Keeper Compound. He's busted out the imprisoned fiancee of his old pal from a heavily guarded manor. He routinely stops by to rob banks and establishments clean, while en route to fullfill a more crucial mission objective.
Of course, all of his incredible exploits heavily depend on the skill and patience of the player. There are really few things as satisfying as being able to sneak through an entire mission stealthily, grabbing all the visible and hidden loot, and not getting seen or otherwise detected by anyone.
Plot Coupons: The first game has Garrett find the four keys to a locked cathedral.
Pluralses: In the first game, the Trickster talks this way. The Pagans and their allies also often incorporate it into their You No Take Candle style of speech.
Garret himself is a Double Subversion; he was recruited into The Keepers when a keeper caught him trying to pick his pocket. He still wanted to be a thief (and just used the skills they taught him to those ends) but ended up fulfilling their prophecies anyway.
Robbing the Dead: Garrett is not above stooping to this if it's necessary. He prefers robbing the living, though, because the undead that tend to inhabit crypts and graveyards are generally a lot more dangerous.
Ruins for Ruins' Sake: Soundly averted. Many of the ancient ruins visited in the series will give you an almost dizzying sense of their long history, to the point where merely walking around them becomes genuinely unnerving.
Rule of Symbolism: Quite a lot, especially in the cutscenes and the more dramatic moments.
Sequel Hook: " The Trickster is dead. Beware the dawn of the Metal Age."
Set a Mook to Kill a Mook: Perfectly doable in all three games, as long as you lure groups of NPC that are enemies with each other into a single location. While your noisemaker arrows are usually meant to be used as a decoy to ward off attention from you, you can use them to lure two enemy groups together to a single spot, where they'll promptly start fighting each other.
Ship Tease: Plenty of it between Garrett and Viktoria in Thief II.
While Garrett is visiting the Bonehoard (A large underground cemetery) in the first game, he does a quip that goes like this: "Time to... raid some tombs." (Eidos Interactive was the publisher of both the Thief and Tomb Raider series.)
The "Lost City" level in the first game has a Cthulhu Mythos referemce : It contains a statue that looks very like Cthulhu, and reference to a god "N'lahotep". It's strongly hinted that angering these gods is what caused the city to be buried under lava.
A deadly fireball-type projectile is called a "Tiltowait". But you will never find out unless you try the Level Editor.
Sliding Scale of Shiny Versus Gritty: The visuals and atmosphere of the series literally bathe in grittiness - and unlike in many other games, it feels very believable, with only minor exaggerated stylisation. Of course, the shiniest places you see belong to either the City's mostly corrupt nobility or the Mechanist Order. Not even the Hammerites and Keepers have such lavishly decorated and polished interiors in their buildings.
Slobs Versus Snobs: The two sets of guards arguing in Thief II's Life of the Party, Lady Van Vernon's guards are far better spoken, coming up with some truly classy insults.
Stalking Mission: Unsurprising in a stealth game. They're actually pretty entertaining. Some examples include The "Assasins" mission in the first game, the "Trace the Courier" mission in the second one and (partly) the Forbidden Library of the Keepers in the third one (after Garrett teams up with them once again).
Stalker with a Crush: Possibly Father Karras. Just listen to his endgame rambling at Garrett. "I'd have had thee under my control, else dead! Indeed, I'd have had both..." What the hell's he on about? Well, consider those masks, and then twitch! Garrett, amusingly, shrugs off hearing this recorded Yandere-fest. "Yeah, keep talkin'..."
Stealth-Based Game: The series is effectively impossible to complete without either stealth or cheating. The main character simply isn't formidable enough to actually fight all the guards one at a time, let alone in groups, and in Thief 2 there was at least one mission where remaining undetected was a required victory condition. Although lone guards are easy to dispatch if you could get a clear shot at their back while they were unaware of your presence, even then, some missions stipulate that you cannot disable any guards or civilians.
It should be noted that circle-strafing and having lots of room to back up can help take out several guards at once. Most die after 2 or 3 overhead swings. The trick is just making sure they don't hit you.
Stealth Hi/Bye: Garrett loves these. He does this to half the people he meets in the third game of the trilogy, including the Big Bad. His mentor manages to pull the same over on him once, amusingly.
Stealth Pun: In Deadly Shadows, you have to break into a clocktower operated by the Hammerites and sabotage the mechanism, causing the clock to stop. In other words, you have to stop hammer time.
Steampunk: Or maybe Steam Gothic. Styles of dress and architecture are mostly late medieval, but there are electric lights on the street, Garrett gains a mechanical eye, and gauges with no discernible purpose are everywhere. In the second game, there are even clockwork surveillance cameras and steam-powered robots. And those... servants. Given the quasi-medievalness of the setting and the abundance of ever-present cogs and gears, it qualifies nicely as Clock Punk too.
The Stoic: The Keepers certainly fit this kind of characterization, with their training and dedication to their ideology of balance making them avoid overly emotional reactions in their behaviour.
Garrett himself is always calm and collected, even in The Cradle. He will only occasionally express surprise, but he's only been scared shitless once. The first time he ever smiles or even resembles being happy is at the very end of Deadly Shadows.
Strange Bedfellows: The second game has Garrett team up with the survivors of the group he defeated in the first.
Late in the first game, he teams up with the Hammerites against a common enemy, an 'eye for an eye', if you will. Fittingly enough, the level in which the event takes place is called Strange Bedfellows.
In Deadly Shadows, Garrett can team-up with these groups despite his history in targeting both of them and killing the Pagans' god while he was trying to destroy the City they hate. Hell, it happens right after he's robbed both of them of some pretty valuable loot. It's possible they've realised he's a dangerous enemy to have.
Stupidity Is the Only Option: The entire plot of the first game is driven by this. What idiot would possibly think that unsealing the ancient Hammerite Cathedral and freeing the Eye from its confinement would be a good idea, after the Eye talks to him in his head and visibly manifests its obvious evil on several occasions? For that matter, what idiot would think that Constantine had any intention of actually paying him that ridiculously oversized a fee for delivering the Eye, when he could simply mug Garrett and take it from him? Garrett didn't even get half the money up front. Apparently his streetwise instincts and common sense completely evaporate if you wave a bag of gold under his nose... which is in character for Garrett, at least.
This is especially true considering the cathedral is in a part of the City that was walled off. Garrett's tone in describing the abandoned part of city seemed fairly skeptical of the actual danger. If the Hammerites were comfortable with leaving such an important artifact in a sealed cathedral in a sealed part of the City, it's fairly safe to assume the Hammers know something Garrett doesn't.
Constantine did pay Garrett with his magic sword, and kept stroking Garrett's ego while challenging him at the same time.
Super Drowning Skills: In the first two games Garrett can swim, but in the third one he drowns instantly upon contact with nose-deep water.
In the third game, guards take pratfalls on oil slicks, and it's even more funny when they slip right off a dock. Thanks to their Super Drowning Skills, it's a useful tactic, too.
Super Strength: The Hammerites. Their hammers are made from solid iron which, combined with their size, would make them VERY heavy. Such a weapon would usually require two hands, yet they wield them one-handed.
Talking to Himself: You'd never know it from just playing, but Garrett, Karras, Raoul the beggar and "Benny" the comedic guard are all voiced by Stephen Russell. This happens a lot for many other characters, too.
Done in a slightly more in-universe sense for the Children of Karras, the robots whose voices are simply Karras' voice recorded.
Technical Pacifist: Garrett, surprisingly enough. He's a thief, not a murderer. In the first two games, the medium difficulty level consistently forbids killing unarmed civilians, while the hardest difficulty does not allow you to kill any humans.
Thieves' Guild: Garrett's not interested in sharing his profits. The local guild bosses are less than pleased. One baron gives him trouble and giving it right back is the object of a mission in the first game. There's also a mission in Thief Gold that requires you to directly infiltrate the Downwind Thieves Guild, and steal something that the guild's bosses are arguing about.
Title Drop: Of course the main title gets a lot of use, but the subtitles of each game each get only a single mention. In the first game Constantine in one written journal calls his plan his "dark project". The second game never uses the words "metal age", but those are the last words spoken in the ending to the first game. In the third game, a Keeper prophecy talks of "deadly shadows" rising.
Too Dumb to Live: In the third game, you can listen to two nobles talking about how they found the secret tunnel two thieves used to try to rob the museum, and plan to use it to break in for a lark. Said nobles seem to be forgetting that the reason the thieves failed was because the museum has lethal security precautions in place. But it would be such fun!
Trespassing Hero: You, of course (in Garret's shoes). Aside from the most relevant loot in each mission you partake in, you can also help yourself to some extra loot for your own needs, or steal things like food, ammo and explosive supplies to replenish your health and equipment.
Trick Bomb: Flashbombs and flashmines, explosive mines, gasbombs, gasmines and even FrogbeastEggs. Holy Water Flasks and Oil Flasks from the third game also count, though they are of the non-exploding variety of bomb-like gadgets. Naturally, since this is a stealth game series, you'll mostly be using (and finding/purchasing) the non-lethal knockout bombs, since they also make the least ruckus when deployed.
Troperiffic: Seriously, just look at this page. Deconstructions are like that.
Underground Level: The Dark Project: "Escape from Cragscleft Prison", "Down in the Bonehoard", "Thieves' Guild", "The Lost City", part of "Song of the Caverns", "Strange Bedfellows", "The Maw of Chaos". The Metal Age: part of "Trail of Blood", part of "Precious Cargo", "Kidnap". Deadly Shadows: part of "Into the Pagan Sanctuary", "The Sunken Citadel". It's a thing.
Unnecessarily Large Interior: The Halls of Echoing Repose, from the first game's "Down in the Bonehoard", as well as the Brobdignagian area in Constantine's Mansion in the Gold version.
Upper-Class Twit: Just about any of the overheard conversations between the nobility carry shades of this, in all three games. In the third game, even one of the nobles has had enough of their "Quite!" and "Yes!" and storms off in frustration.
Useless Useful Stealth: Nicely averted (unsurprisingly, since proper stealth is the meat and potatoes of the whole series). Sure, you can still cut or blast your way through most enemies if needed, but it's not as fun or effective and you'll be scorned by both the game and the fans for it.
The third game has a specifically scripted instance of this: You find out the place you're robbing is home to a blind, grieving widow. If you fetch her a glass of wine like she asks, don't kill her guests, and DON'T steal the sizeable inheritance her husband left for her, she'll reward your kindness a couple of missions later by sending you an expensive bottle of wine. (If you DO steal her inheritance, she sends a loyal servant to try and kill Garrett.)
Videogame Cruelty Potential: Play the games the way they're meant to be played and you'll avoid it. But still, you can pickpocket virtually anyone (given the right circumstances), backstab anyone not aware of your presence from behind, snipe people and various fauna in the head with a broadhead arrow, blow up or gas people and creatures with fire arrows and bombs/mines, blackjack everyone in the city quarter and hide them in bushes or ignite puddles of oil and throw the unsuspecting innocents in there, blind people with flashbombs, blow zombies to chunky bits or dust with holy water arrows, etc., etc. And best of all, if you kill any normal living being, you can clean up the puddle of bloodby shooting a water arrow into it. Of course, you should steer away from any open violence, since in the end, the guards or creatures will probably catch you and arrest or kill you.
Villain Ball: Gamall gets an example of this in Deadly Shadows. She was smart enough to take the Glyph of Unbinding away from the Keepers, but she didn't destroy it or put it somewhere where nobody could find it. Instead, she took it to her lair. On top of this, she wrote a crazed rant about it in which she explained why Garret would want it (it destroys her stone guardians), how he can utilize it (bind it to his blackjack), and how to use it (smack the golem in the back of the head with it). Last but not least, she left this rant right next to the Glyph itself.
The Watcher: The entire faction of the Keepers is secretly struggling since ancient times to preserve the balance between good and evil in the world and peace between the various factions (especially the Hammerites and Pagans). But even though the members of this monastic and scholarly secret society try their best, they're not always as neutral as they claim, or perhaps wish they could be.
Weak, but Skilled: Garrett, despite being far from a physical powerhouse, is able to regularly outwit and outmanuever burly guards and superhuman monsters through a combination of smarts and stealth.
Wide Open Sandbox: The individual levels are very conducive to wasting time playing around and trying to find routes into every nook and cranny, and have plenty of rewards (both treasure and interesting easter eggs such as hidden dialogues) for doing so. Officially invoked in the third game, where the City itself is a Hub Level that you can sneak around exploring and robbing people between missions.
What Measure Is a Non-Human?: On Expert difficulty, killing human civilians and guards is an automatic mission failure. This doesn't apply to animals, monsters, machines, undead or humanoid beasts. One exception is the Servants, who are people who've been kidnapped, vivisected and turned into cyborgs/living weapons. Killing them on Expert difficulty also grants you a mission failure. A notable exception occurs in the last mission of The Metal Age. The Masked Guards are apparently Mechanists who started questioning Karras' increasingly unstable behavior and methods, earning them a hasty conversion into Servants (as evidenced by the blood on their chestplates). They'll actually beg you to kill them and thank you if you do.
Who Watches the Watchmen?: In Deadly Shadows, it's clear that the Keepers have become this. While they obsessively watch and chronicle other factions and events in The City, they record very little of their own history. This is what allowed Gamall the ability to rise unchecked. One note in the game even asks the question: "Who keeps the Keepers?"
You No Take Candle: Pagans, on the other hand, have a unique tribal-ish dialect to their speech, using "bes" for "is" and other "to be" permutations and frequently attaching the suffix "-sy" to the end of words.
In addition, the Game Mods mentioned above contain tropes not seen or as prevalent as in the main games. These include:
Adaptation Distillation: Or something close to it. A fair number of fan missions take creative liberties or outright ignore canon.
Art Evolution: Many FMs use custom resources for object, items and textures, making a fan-mission look like a completely different game!
Fan Remake: An odd variation: through accident and happenstance, the source code to the first two Thief games found its way into the hands of the public. A little over a year later, an anonymous source has been releasing patches to make the games run bigger, better and faster than ever before. "New Dark" has allowed fan-mission authors to use more detailed architecture, textures, and more intensive resources than was ever possible before, and even doing away with the old Dark Engine's limitations (thus killing the Kill Screen phenomenon detailed below).
Guide Dang It: Fan missions tend to be harder, with trickier clues, better hidden keys and switches, almost to the point of absurdity, leading to multi-page threads on the official forums asking for assistance.
Kill Screen: The default number of polygons that the first two Thief games can render on screen at any given time is 1024. Any higher than that and you get a "hall of mirrors" effect, and then the game crashes. Several ambitious fan missions skirt carefully close to this number at all times due to level of detail! Some even come with warnings saying "Don't look here or there at this point" to avoid a crash.
Shout-Out: To many other games, TV shows, movies, and even other mission authors.
Wide Open Sandbox: The individual levels are very conducive to wasting time playing around and trying to find routes into every nook and cranny, and have plenty of rewards (both treasure and interesting easter eggs such as hidden dialogues) for doing so.
Would Not Shoot a Civilian: While in the main game this only applies on "hard" or "expert", many fan missions make you auto fail if you kill an unarmed NPC by default.